Zeit- und Kulturkritik: Wolfgang Koeppen ueber Thomas Mann. Untersuchung zu Stil und Struktur in 'Tauben im Gras' und 'Der Tod in Rom'.

摘要

The dissertation is an analysis of structure and style of Koeppen's postwar novels Tauben im Gras and Der Tod in Rom. Emphasis is placed on the author's artistic use of language which includes allusions to history, mythology and literature. The study provides a detailed investigation of the functions of direct and indirect allusions to literature. It was found that in both novels Koeppen disputes indirectly Mann's aesthetical concept: the conviction that art and humanitarian commitments are exclusive. Koeppen offers us his own principles of art which he presents as a "Gegenentwurf" to Mann's. Satirical allusions to motifs of Mann's prose (Der Tod in Venedig, and Doktor Faustus) and to Mann's viewpoints, as expressed in essays and speeches, decisively determine style and structure of Koeppen's novels.The dissertation consists of two parts, each novel being analyzed separately. In Tauben im Gras Koeppen explores a series of socially critical themes. Amongst the more important of such themes is that of the presumed sociological role and function of art and artist. However, Koeppen presents his Gegenentwurf to Mann not only through the more obvious method of contrasting the poets Edwin (Mann) and Philipp (Koeppen), but also through more subtle mechanisms. It is through these less obvious methods that the profound impact that the dispute with Mann had on the conception of the novel becomes apparent.In Der Tod in Rom Koeppen develops the earlier theme and now the discussion of the role of art and artist in the society becomes the focus of contention. Although he intensifies his criticism of Mann, his style is quite different. Mann's views and incongruities of his views are projected to all major characters. In contrast, only Siegfried speaks for the author. In essence, he presents his appraisal of Mann's thoughts in an artful and even concept, that of the antithetical panegyric.Dealing with the aftermath of the Third Reich Koeppen assigns accountability to German writers for cultivating ideas and ideals which eventually culminated in nationalism and fascism. He chooses as an epitome of such artists Thomas Mann, whom he satirically portraits through the characters Edwin and Kurenberg.